Search Results for "Wayne Shorter"

Art Blakey & The Jazz Messengers – A Night In Tunisia (Live At Hibiya Public Hall, Tokyo, Japan 1-14-61) (2021)
FLAC (tracks) 24 bit/192 kHz | Time – 11:11 minutes | 371 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Blue Note Records

On December 10, Blue Note Records will release First Flight to Tokyo: The Lost 1961 Recordings, a thrilling previously unreleased live recording of Art Blakey & The Jazz Messengers captured at Hibiya Public Hall in Tokyo on January 14, 1961 during the band’s first-ever tour of Japan. The Jazz Messengers were among the first modern jazz groups to tour the country, and adoring Japanese audiences were enthralled by one of the band’s all-time great line-ups featuring the legendary drummer with Lee Morgan on trumpet, Wayne Shorter on tenor saxophone, Bobby Timmons on piano, and Jymie Merritt on bass. The concert featured soaring performances of well-known jazz staples including Dizzy Gillespie’s “A Night In Tunisia,” Charlie Parker’s “Now’s the Time,” Thelonious Monk’s “’Round About Midnight,” and Jazz Messenger hits including “Blues March,” “Dat Dere,” and “Moanin’.”

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Art Blakey & The Jazz Messengers – A Night In Tunisia (1960/2013)
FLAC (tracks) 24 bit/192 kHz | Time – 37:51 minutes | 1,52 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Blue Note Records

Recorded August 7 (tracks 2 and 4) and 14 (tracks 1, 3 and 5), 1960 in Rudy Van Gelder Studio, Englewood Cliffs, NJ

Originally issued as Blue Note BLP 4049

“In preparing these hi def remasters, we were very conscientious about maintaining the feel of the original releases while adding a previously unattainable transparency and depth. It now sounds like you’ve set up your chaise lounge right in the middle of Rudy Van Gelder’s studio!” – Blue NotePresident, Don Was.

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Art Blakey – Meet You at the Jazz Corner of the World (1960/2021)
FLAC (tracks) 24 bit/48 kHz | Time – 41:13 minutes | 439 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Music Manager

Meet You at the Jazz Corner of the World is two Blue Note live albums featuring the Jazz Messengers with the leader/drummer Art Blakey, trumpeter Lee Morgan, tenor saxophonist Wayne Shorter, pianist Bobby Timmons and bassist Jymie Merritt. The albums were recorded on September 14, 1960 at Birdland, a jazz club in New York City.
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Art Blakey & The Jazz Messengers – Free for All (1964/2012)
FLAC (tracks) 24 bit/192 kHz | Time – 36:47 minutes | 1,68 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Blue Note Records

Originally issued as Blue Note BLP 4170

High Resolution Mastering by Alan Yoshida @ Dunning-Kruger
“In preparing these hi def remasters, we were very conscientious about maintaining the feel of the original releases while adding a previously unattainable transparency and depth. It now sounds like you’ve set up your chaise lounge right in the middle of Rudy Van Gelder’s studio!” – Blue Note President, Don Was.

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Art Blakey – Blakey in Paris (2021)
FLAC (tracks) 24 bit/48 kHz | Time – 42:16 minutes | 433 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Music Manager

Arthur Blakey (October 11, 1919 – October 16, 1990) was an American jazz drummer and bandleader. He was briefly known as Abdullah Ibn Buhaina after he converted to Islam for a short time in the late 1940s.
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Art Blakey – At the Jazz Corner of the World (1959/2021)
FLAC (tracks) 24 bit/48 kHz | Time – 39:37 minutes | 420 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Blue Note/Music Manager

The legendary NYC jazz club Birdland was sacred ground for drummer Art Blakey who recorded 3 live albums for Blue Note at the venue between 1954-1960: A Night at Birdland, At the Jazz Corner of the World, and Meet You at the Jazz Corner of the World. This last date featured one of the greatest lineups of Blakey’s powerhouse outfit The Jazz Messengers with Lee Morgan on trumpet, Wayne Shorter on tenor saxophone, Bobby Timmons on piano, and Jymie Merritt on bass. Spirits are high on this superb outing from the iconic introduction by MC Pee Wee Marquette through 2 volumes of thrilling hard bop.
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Art Blakey – At the Jazz Corner of the World (1959/2021)
FLAC (tracks) 24 bit/48 kHz | Time – 37:42 minutes | 383 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Blue Note/Music Manager

The legendary NYC jazz club Birdland was sacred ground for drummer Art Blakey who recorded 3 live albums for Blue Note at the venue between 1954-1960: A Night at Birdland, At the Jazz Corner of the World, and Meet You at the Jazz Corner of the World. This last date featured one of the greatest lineups of Blakey’s powerhouse outfit The Jazz Messengers with Lee Morgan on trumpet, Wayne Shorter on tenor saxophone, Bobby Timmons on piano, and Jymie Merritt on bass. Spirits are high on this superb outing from the iconic introduction by MC Pee Wee Marquette through 2 volumes of thrilling hard bop.
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Art Blakey – Art Blakey And His Driving Big Band! (1965/2021)
FLAC (tracks) 24 bit/96 kHz | Time – 35:50 minutes | 768 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © RevOla

Arthur Blakey (October 11, 1919 – October 16, 1990) was an American jazz drummer and bandleader. He was briefly known as Abdullah Ibn Buhaina after he converted to Islam for a short time in the late 1940s.

Blakey made a name for himself in the 1940s in the big bands of Fletcher Henderson and Billy Eckstine. He then worked with bebop musicians Thelonious Monk, Charlie Parker, and Dizzy Gillespie. In the mid-1950s, Horace Silver and Blakey formed the Jazz Messengers, a group that the drummer was associated with for the next 35 years. The group was formed as a collective of contemporaries, but over the years the band became known as an incubator for young talent, including Freddie Hubbard, Wayne Shorter, Lee Morgan, Benny Golson, Kenny Dorham, Hank Mobley, Donald Byrd, Jackie McLean, Johnny Griffin, Curtis Fuller, Chuck Mangione, Chick Corea, Keith Jarrett, Cedar Walton, Woody Shaw, Terence Blanchard, and Wynton Marsalis. The Biographical Encyclopedia of Jazz calls the Jazz Messengers “the archetypal hard bop group of the late 50s”.

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Art Blakey – A Night At Birdland, Vol. 1 (1956/2014)
FLAC (tracks) 24 bit/192 kHz | Time – 37:42 minutes | 1,39 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Blue Note Records

When Art Blakey founded the Jazz Messengers, his initial goal was to not only make his mark on the hard bop scene, but to always bring younger players into the fold, nurture them, and send them out as leaders in their own right. Pianist Horace Silver, trumpeter Clifford Brown, and saxophonist Lou Donaldson were somewhat established, but skyrocketed into stardom after this band switched personnel. Perhaps the most acclaimed combo of Blakey’s next to the latter-period bands with Lee Morgan and Wayne Shorter, the pre-Messengers quintet heard on this first volume of live club dates at Birdland in New York City provides solid evidence to the assertion that this ensemble was a one of a kind group the likes of which was not heard until the mid-’60s Miles Davis Quintet. Three of Silver’s greatest contributions to jazz before he turned to original soul and funkier sounds are here. “Split Kick” (introduced by the erudite Pee Wee Marquette) is a definitive hard bop vehicle, as Brown and Donaldson dig into their melody and solo lines with deep affection and joy for this music. “Quicksilver” is more of the same as the horns play in unison and pull the famous lyrical quote from “Hey, You Beautiful Doll.” “Mayreh” is a happy reharmonized version of “All God’s Children Got Rhythm,” hard bop at its best, with Brown on fire. Of course, Donaldson’s forte is soul, as emphasized during the slow “Blues,” assimilating Charlie Parker’s cooled tones nicely. A near ten-minute “A Night in Tunisia” establishes the loose-tight concept Blakey patented as he dominates the bandstand in loudness. J.J. Johnson’s “Wee-Dot” is as definitive a bop flagwaver as there is, with a short head and plenty of solo space. Where Brown was always masterful in a ballad, “Once in a While” showcases his beautifully executed legato sound, but not at the expense of his innate ability to both invent and extrapolate without losing touch of this special melancholy song. This recording, as well as subsequent editions of these performances, launches an initial breakthrough for Blakey and modern jazz in general, and defines the way jazz music could be heard for decades thereafter. Everybody must own copies of all volumes of A Night at Birdland. –Michael G. Nastos
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